That loquacious cynic known only as “Old White Male,” played by John Erdman in Heinz Emigholz’s 2020 film The Lobby (NYFF58), returns in this delirious, sci-fi-comic follow-up in which our fearless, joyless monologist covers an even wider spectrum of human absurdity as he wrestles with the biggest question mark of all: The Future. Smarting from his last experience making a movie with “that nobody of a director,” which he’s told was “rejected by a once-famous film festival” for its alleged misanthropy, Erdman is this time joined by a caustic, endlessly philosophizing German filmmaker (Susanne Bredehöft) and a robot version of himself from the past (visualized as his own disembodied, portable miniature head). Shot in Berlin, Malta, and Mexico City, but set mostly in his bunker-like home, The Suit gives Erdman ample room to expound upon cinema, the corporeal vs. the digital, the apocalypse, architecture, health and nutrition, and what it means to see and be seen in a world that’s increasingly turning inward. Texts include everything from Walter Benjamin to Nelly Furtado, and nothing is sacred.